1895 | 167 minutes | |
Written by Jules Massenet

Saturday April 28, 2018


$24 General Admission, $21 Member,
$12 child age 14 or younger
Doors Open for admissions 30 min. prior to screening
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Written by Jules Massenet

“Glorious,” raved the New York Times when Joyce DiDonato sang the title role of Cendrillon at the Royal Opera in 2011. “Her performance was thoroughly enchanting.” Now, for the first time ever, Massenet’s sumptuous take on the Cinderella story comes to the Met, with DiDonato starring in the title role. She is paired with mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the imperious Madame de la Haltière. Bertrand de Billy conducts Laurent Pelly’s imaginative storybook production.

Massenet’s enchanting opera Cendrillon, based on Cinderella, premieres at the Met conducted by Bertrand de Billy and directed by Laurent Pelly, whose Met credits include staging Donizetti’s La Fille du Régiment and Massenet’s Manon. Joyce DiDonato adds another role to her Met repertory as the title character, a role she has sung to acclaim at the Grand Teatre del Liceu, Santa Fe Opera, and Royal Opera, Covent Garden. The cast also stars Alice Coote as Prince Charmant, Stephanie Blythe as the evil stepmother Madame de la Haltière, Kathleen Kim as the Fée, and Laurent Naouri as Pandolfe. Cendrillon is produced in association with the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Théâtre Royal de La Monnaie, Brussels; and Opéra de Lille. This production was first performed at The Santa Fe Opera.


"The strategy allows Joyce DiDonato to play Cendrillon straight — not as a fairy-tale princess but as a young woman with recognizable yearnings, a first cousin to Werther's Charlotte. She brings sadness but no self-pity to her entrance aria, "Reste au foyer, petit grillon"; when she proclaims "Vous êtes mon Prince Charmant," it's with the grace of a woman who truly recognizes what love is. The sweetness of DiDonato's voice defines the character — this Cinderella could inspire love in any prince — and her ability to produce warm, plangent tone throughout her range, including some wondrous floated high notes (in the score, Cendrillon is listed as a soprano), allows her to realize the full lyric potential of Massenet's honeyed melodies."--Fred Cohn, Opera News


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